Friday, 28 February 2014

 Simon Shack's King Kong Man debunked

In a recent post at his cluesforum site, Simon 'Shack' Hytten claimed that the falling man video was faked because the man would have to be about 13 feet tall. He called it 'King Kong man':

The obvious way to analyse the image and determine the approximate size of 'King Kong Man' is to compare his apparent height to the dimension of other elements within the image that are known. Shack attempts to do this but makes a farcically bad job of it.

Shack determined that the height of a WTC window was 7 feet, but he incorrectly identifies the window, what he does is take the height of the bottom pane of a three-pane window and claim that pane is 7 feet high rather than being the bottom portion of the window. This incorrect measurement allows him to suggest that the man is huge, around 13 feet tall!

Well, this notion is easily disproved. The exterior columns of the WTC were 18.75 inches (48cm) wide and were spaced 22 inches (56cm) apart. This information took all of a minute to find with a simple Google search.

I measured these dimensions on a blowup of the image and then measured the approx height of the man. I get a figure of just under 4ft 10 (146cm). Hardly King Kong...

This clearly shows that the cluesforum 'analysis' of this video is utter rubbish. So bad that you have to wonder if they didn't deliberately misrepresent the data, no competent person could have made such an obvious mistake. 

Shack presented this image, a photo of the WTC facade in his forum post. It shows single pane windows in the centre of the frame but look over to the left hand side, two three-pane windows are clearly visible.

If we look more closely, and outline one of these windows, it becomes clear what Shack has done - he has misidentified the lower pane as being the whole window! This has given him a wildly incorrect measurement by which to assess the height of the man.

When errors are as mind-bogglingly clear as this one can only conclude that Simon Shack is one of two things:

A. Hopelessly incompetent

B. Deliberately misleading people.


  1. Ian, thats what I thought when I was following along during the show.

    Who and whatever else these folk are, they are just desperate to try and stop any real investigation that could lead to arrest and prosecution for the perps.

    And have as much as admitted it in the thread.

    Now who would do such a thing????????????

    Oh yeah, was wondering what you think of the idea of trying to change the name of PID to the Kuehn Commission?

    I was only three at the time of the Warren Commission but dealing with them must have been similar to what we are going through with this current crop of 'commissioners', lol.

    I just dont have the heart to tell them to go back to the Royal Variety shows and all the stuff that was on British telly showing Paul was taller than John in '63...

    1. I agree Chris, Shack and his cronies are gatekeepers, nothing more, nothing less.

      Why do Shack et al focus so much on video fakery? Because they want to limit the discussion to that level which, as I have stated several times before, is pretty pedantic and will never lead you to any understanding of what happened.

      Why do Shack,OBF etc keep saying the USGS data is suspect and probably faked? Because they don't want anyone to look further than the video fakery.

      They don't want people to dig any deeper than the superficial level, that's why they constantly bang on about the video fakery, it's superficial, it won't lead to any worthwhile discovery.

      Shack's work is fundamentally flawed and largely invalid for the simple reason that he doesn't do anything more than make up theories based on looking at the videos and photos, he doesn't look at other data sources like the USGS dust samples, the seismic data etc.

      Why do Shack, OBF etc keep attacking Don and Jim? Simple, because they are talking about Israel, the Mossad, the Zionist US Jews and the use of nuclear weapons. They are trying to disrupt anyone who tries to research in those areas.

      Shack, OBF and their cronies are gatekeepers spreading disinfo and disruption. They are using the 'analysis' of videos as a smoke screen, they want people to spend their time and energies looking at these faked videos rather than at other data that is far more valuable. They want to convince people that the videos are faked (which some of them are) and once they have hooked people on that fakery line, they then want to convince them that everything else is probably fake. Once trapped in this fake mindset, you can be manipulated easily, they can mislead you simply by pressing the fake button. A person discovers the USGS data - Shack simply presses the fake button.

      Shack, OBF etc are trying to programme people into a state of mind were they can easily be convinced that anything is fake. That is the key to their psyop.

      Once they have programmed a person with this fakery mindset, they can simply mislead them away from anything potentially sensitive by labelling it fake.

      They don't want people to realise that nuclear weapons were used on 9/11, hence they are pushing that nukes are fake.

      They don't want people to realise that mass murder was committed on 9/11 hence they are pushing that the victims were fake.

      As to their credibility - it's fake...

      As for PID, while I have a genuine interest in the subject, I just can't get anywhere with Clare, she is so arrogant and intransigent that she is a very real roadblock in the way of proper research.

      I am sure that the original Paul is still alive, there are way too many pictures of him post 66 that are clearly the same guy and the musical aspects, not least his distinctive bass playing. However, I also think that there has been an imposter Paul, or Faul or whatever, and that is why there are those suspicious looking pictures. Anyways, due to Clare I've left PID alone and will steer clear of it for the time being, it's just too annoying to try to deal with her.

    2. Ian, I commend you for the effort at Fetzer's, but the place is completely overrun with disinfo specialists. The nicest possible interpretation of Clare is she is "merely" a full-blown narcissist. IMO the PID conspiracy is akin to a Harvard Business Case -- spooks use it to learn and practice their online techniques on unsuspecting researchers. IMO That's what Clare is doing, and importantly, under the tutelage of Jim Fetzer, who encourages and supports her every step of the way, as she holds the door open for the little army of sycophantic trolls and assorted miscreants she has dragged into his forum, most of whom she gets along with just fine, while normal people pull their hair out in exasperation. The people who have complained about Clare have all been shouted down. I don't see Fetzer doing much to defend you or Don either. Pretty disappointing. One can draw his or her own conclusions.

    3. Yes, it's pretty exasperating. It seems all the 'good' posters with something worthwhile to contribute have a problem with Clare. I don't know if she has a nefarious agenda or is just a very annoying person with very limited interpersonal skills, but either way, she's a serious impediment and I think Jim has made a mistake supporting her.

      Thanks for the kind words, I've pretty much given up due to the infestation of 'bad' people there. I think it is an indication of success on the part of Jim, Don and myself in combating the likes of OBF and Shack. They have brought in a bunch of their cronies, they wouldn't have bothered if we weren't a threat to them and their games.

      PID, for me, is a disproven hypothesis because there are a lot of photos that show the original Pal long after 66, but there is also very convincing evidence for this Faul impostor, so there is certainly scope for a new hypothesis that takes into account all the evidence. I am leaning towards there having been an impostor who began to appear from late 66 onwards and may still be appearing from time to time. However, I don't think it's an important enough topic to spend my time on. I do look forward to seeing further research on it by others as it is intriguing.

    4. PID is not important given the serious events going on in the world. It's baby-boomer self-indulgent navel-gazing. If you took any of these PID threads and stripped out Clare's comments, and the people trying to argue in circles with her, they would reduce down to nothing. The "interest" in this topic is mostly fluff and foam sustained by Clare's special skill talking in circles.

    5. I agree, there is very little substance there and a lot of hyperbole from Clare. She's still defending Shack and OBF, still pushing Judy Wood's 'beam weapons' still telling me I'm wrong over every point. Others have also expressed concerns to me that she is an agent of some sort, I don' know what to think, but she is a massive impediment.

    6. I'm sure you know the saying... if it looks like a duck, and it walks like a duck, and it quacks like a duck... it's a duck.

    7. Yes, it is concerning indeed as she has got Jim totally convinced she's on the level.

  2. Thanks for the laugh, Ian ! :-D

    Can't wait for your next debunking attempt!

    Simon Shack

    1. Of course I didn't expect you to admit you were wrong! You still haven't accounted for the width of the windows of the width of the external columns and are simply measuring the wrong pieces. Comically incompetent!

  3. This comment has been removed by the author.


    Cheers Ian.

  5. There's plenty of evidence of clear fakery with a lot of the 9/11 footage.
    We should not be surprised to find out the jumpers were faked footage as well. The size of the man and the window aside. The stories of the jumpers have other problems and if you look into it you will see why.

    Any big deal news event reported by the national news should be assumed to be propaganda and not real. All of these large scale events are actually just war games or military style theatrical drills.

    Nothing changes-

    "The Ghost Army was a United States Army tactical deception unit during World War II officially known as the 23rd Headquarters Special Troops.[1] The 1,100-man unit was given a unique mission within the U.S Army: to impersonate other U.S. Army units to deceive the enemy. From a few weeks after D-Day, when they landed in France, until the end of the war, they put on a "traveling road show" utilizing inflatable tanks, sound trucks, fake radio transmissions and pretence. They staged more than 20 battlefield deceptions, often operating very close to the front lines. Their story was kept secret for more than 40 years after the war, and elements of it remain classified.[2] The unit was the subject of a PBS documentary The Ghost Army in 2013."

  6. "They don't want people to realise that nuclear weapons were used on 9/11, hence they are pushing that nukes are fake."

    Nukes are fake- Hollywood special effects film work!

    "Lookout Mountain Air Force Station (LMAFS) is a former defense site which today is a private residence in the Laurel Canyon neighborhood of Los Angeles, California. The USAF military installation produced motion pictures and still photographs for the United States Department of Defense and the Atomic Energy Commission (AEC) from 1947-1969.[2]
    The 100,000 sq ft (9,300m) facility was built on 2.5 acres in 1941 as a World War II air defense center to coordinate Los Angeles area radar installations.[2] When the studio was established in 1947, its purpose was kept secret. The studio consisted of one large sound stage, a film laboratory, two screening rooms, four editing rooms, an animation and still photo department, sound mixing studio, and numerous climate controlled film vaults. Using the latest equipment, the studio could process both 35mm and 16mm color motion picture film as well as black and white and color still photographs.[3] It was declared Los Angeles Historic-Cultural Monument number 1098 in 2015."

    "Beginning with Trinity, the very first nuclear test in 1945, there was an obvious need to document nuclear testing with still and moving pictures photography. The film was needed for the study and understanding of the behavior of nuclear weapons. In 1946, in support of Operation Crossroads, the first atomic bomb test in the Pacific, the joint task force conducting the test had pulled together a provisional photographic unit of still and motion picture photographers to document the test. Most of these photographers were part of a small detachment of the 1st Motion Picture Unit from Long Island, New York."

  7. "The Committee on Public Information, also known as the CPI or the Creel Committee, was an independent agency of the government of the United States created to influence U.S. public opinion regarding American participation in World War I. Over just 26 months, from April 14, 1917, to June 30, 1919, it used every medium available to create enthusiasm for the war effort and enlist public support against foreign attempts to undercut America's war aims. It primarily used propaganda techniques to accomplish these goals."

    "One early incident demonstrated the dangers of embroidering the truth. The CPI fed newspapers the story that ships escorting the First Division to Europe sank several German submarines, a story discredited when newsmen interviewed the ships' officers in England. Republican Senator Boies Penrose of Pennsylvania called for an investigation and The New York Times called the CPI "the Committee on Public Misinformation."[20] The incident turned the once compliant news publishing industry into skeptics.[21]
    Early in 1918, the CPI made a premature announcement that "the first American built battle planes are today en route to the front in France," but newspapers learned that the accompanying pictures were fake, there was only one plane, and it was still being tested.[22] At other times, though the CPI could control in large measure what newspapers printed, its exaggerations were challenged and mocked in Congressional hearings.[23] The Committee's overall tone also changed with time, shifting from its original belief in the power of facts to mobilization based on hate, like the slogan "Stop the Hun!" on posters showing a U.S. soldier taking hold of a German soldier in the act of terrorizing a mother and child, all in support of war bond sales."

  8. "After World War I began in August 1914, radio traffic across the Atlantic Ocean increased dramatically after the western Allies cut the German transatlantic telegraph cables. Germany, Austria-Hungary, and their allies in Europe (collectively known as the Central Powers) maintained contact with neutral countries in the Americas via long-distance radio communications, as well as telegraph cables owned by neutral countries such as the Netherlands and Denmark.
    In 1917 the government of the United States took charge of the patents owned by the major companies involved in radio manufacture in the United States to devote radio technology to the war effort. All production of radio equipment was allocated to the U.S. Army, U.S. Navy, U.S. Marine Corps, and the U.S. Coast Guard. The War Department and the Navy Department sought to maintain a federal monopoly of all uses of radio technology. The wartime takeover of all radio systems ended late in 1918, when the U.S. Congress failed to pass a bill which would have extended this monopoly. The war ended in November of that year.
    The ending of the federal government's monopoly in radio communications did not prevent the War and Navy Departments from creating a national radio system for the United States.[5] On 8 April 1919, naval Admiral W. H. G. Bullard and Captain Stanford C. Hooper met with executives of the General Electric Corporation (GE) and asked them to discontinue selling the company's Alexanderson alternators (used in the high-power AM radio transmitters of that era) to the British-owned Marconi Company, and to its subsidiary, the Marconi Wireless Telegraph Company of America.
    The proposal presented by the government was that if GE created an American-owned radio company, then the Army and Navy would effect a monopoly of long-distance radio communications via this company. This marked the beginning of a series of negotiations through which GE would buy the American Marconi company and then incorporate what would be called the Radio Corporation of America.[6]"

    "Pathé or Pathé Frères (French pronunciation: ​[pate fʁɛʁ], styled as PATHÉ!) is the name of various French businesses that were founded and originally run by the Pathé Brothers of France starting in 1896. In the early 1900s, Pathé became the world's largest film equipment and production company, as well as a major producer of phonograph records. In 1908, Pathé invented the newsreel that was shown in cinemas prior to a feature film.
    Today, Pathé is a major film production and distribution company, owns a great number of cinema chains, across Europe but mainly in France, including 66% of the Les Cinémas Gaumont Pathé a joint venture between Pathé and the Gaumont Film Company, and several television networks across Europe. It is the second oldest still-operating film company in the world, predating Universal Studios and Paramount Pictures, second only to the French Gaumont Film Company studio."é

  9. "John Huston’s Fake Documentaries Of World War II
    By Nolan Moore on Monday, October 19, 2015"

    "Huston was a man who loved excitement, so when America entered World War II in 1941, Huston was ready to go. According to film historian Mark Harris, author of books like Five Came Back and Pictures at a Revolution, Huston viewed the war as an adventure and a chance to test his manhood. Of course, Huston wasn’t the only filmmaker fighting the Axis. Directors like Frank Capra, John Ford, William Wyler, and George Stevens all signed up to do their part.

    But these soldiers weren’t armed with guns. Instead, they were carrying cameras.

    These directors were charged with the chronicling the war on film and producing propaganda flicks to inspire both the troops and the folks back home. Serving in the Signal Corps, Capra produced the Why We Fight films, a seven-episode series that explained why America was at war with Hitler. As head of the photographic unit for the Office of Strategic Services, John Ford captured the intense fighting at the Battle of Midway, and George Stevens (director of Giant, Shane, and A Place in the Sun) was on hand to capture the horrors of the Dachau concentration camp.

    As for Huston, he’s probably best remembered for Let There Be Light, a documentary following a group of veterans suffering from PTSD. Unfortunately, the film was confiscated by military brass who thought it would demoralize audiences. They locked it up for over 30 years.

    Of course, this wasn’t Huston’s only contribution to the war effort. Prior to Let There Be Light, he directed The Battle of San Pietro, a film depicting an American advance on the titular Italian town. The film was unflinching in its portrayal of real warfare, complete with corpses and body bags. There was even a fair amount of shaky cam going on. After all, there were bullets flying everywhere, and the film crew was forced to take cover from enemy fire . . . right?

    Well, no, not really. Huston and his film crew didn’t show up in Pietro until the fighting was over, so instead of filming real-life combat, Huston recreated the entire battle with the help of the US Army. Huston was given actual soldiers and actual weapons to recreate the scene, and military officials even forked over classified documents describing what had happened during the fighting. As for all that bumping up and down, Huston knew he could make the footage appear more realistic if he added a bit of shaky cam. Basically, The Battle of San Pietro was one elaborate fake."

  10. "The Early History of Faking War on Film

    Early filmmakers faced a dilemma: how to capture the drama of war without getting themselves killed in the process. Their solution: fake the footage

    By Mike Dash
    November 19, 2012"

    "Georges Méliès, the pioneer filmmaker, shot faked footage of the war of 1897—including the earliest shots of what was claimed to be naval warfare, and some horrific scenes of atrocities in Crete. All were created in his studio or his back yard in Paris."